In the span of 24 hours, a sex worker wakes up, fights with her mother, anarchizes her son, dates Santa Claus, a Blue Bear, and two girlfriends. In the end, she meets up with her old millionaire lover.
Blood is everywhere in this film, produced after the peak of Cinema Marginal. The frenetic, relentless carnival is assaulted by the soundtrack, as the constant sound of gunfire brings the war into the lap of the young protagonist amid bizarre encounters. The aggressive disjunction between image and sound, in consonance with discourses that alternate between the nonsensical and the militant, marks much of the narrative in Luiz Rosemberg Filho’s third feature film, one of the most prolific directors of Brazilian experimental cinema.